{"id":5170,"date":"2012-11-28T12:09:00","date_gmt":"2012-11-28T10:09:00","guid":{"rendered":"https:\/\/eero.storijapan.net\/docfolio\/deconstructed-chairmen\/"},"modified":"2018-12-11T16:47:58","modified_gmt":"2018-12-11T14:47:58","slug":"deconstructed-chairmen","status":"publish","type":"post","link":"https:\/\/eero.storijapan.net\/docfolio\/deconstructed-chairmen\/","title":{"rendered":"NO-CHAIR-DESING: Art of Deconstruction"},"content":{"rendered":"<div data-carousel-extra='{&quot;blog_id&quot;:1,&quot;permalink&quot;:&quot;https:\/\/eero.storijapan.net\/docfolio\/deconstructed-chairmen\/&quot;}' id='gallery-1' class='gallery galleryid-5170 gallery-columns-3 gallery-size-thumbnail'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/eero.storijapan.net\/docfolio\/deconstructed-chairmen\/attachment\/5171\/'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/eero.storijapan.net\/docfolio\/wp-content\/uploads\/2012\/11\/tumblr_me6tbodffF1qimc01o1_1280-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" srcset=\"https:\/\/eero.storijapan.net\/docfolio\/wp-content\/uploads\/2012\/11\/tumblr_me6tbodffF1qimc01o1_1280-150x150.jpg 150w, https:\/\/eero.storijapan.net\/docfolio\/wp-content\/uploads\/2012\/11\/tumblr_me6tbodffF1qimc01o1_1280-100x100.jpg 100w, https:\/\/eero.storijapan.net\/docfolio\/wp-content\/uploads\/2012\/11\/tumblr_me6tbodffF1qimc01o1_1280-50x50.jpg 50w\" sizes=\"auto, 100vw\" data-attachment-id=\"5171\" data-permalink=\"https:\/\/eero.storijapan.net\/docfolio\/deconstructed-chairmen\/attachment\/5171\/\" data-orig-file=\"https:\/\/eero.storijapan.net\/docfolio\/wp-content\/uploads\/2012\/11\/tumblr_me6tbodffF1qimc01o1_1280.jpg\" data-orig-size=\"750,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/eero.storijapan.net\/docfolio\/wp-content\/uploads\/2012\/11\/tumblr_me6tbodffF1qimc01o1_1280.jpg\" \/><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\n<p>Contemporary artist of the world are trained in &ldquo;the art of deconstruction&rdquo;.<\/p>\n<p><em>What is that about\u00a0<\/em>and when will <strong>construction<\/strong> and restoration become mainstream?\u00a0A chair themed example of the deconstruction work is the\u00a0<a href=\"http:\/\/www.chytilek.artfolder.net\/index.php\/der-5-stuhl.html\" target=\"_blank\">&ldquo;Der 5. Stuhl&rdquo; by<\/a><strong><a href=\"http:\/\/www.chytilek.artfolder.net\/index.php\/der-5-stuhl.html\" target=\"_blank\">\u00a0Eva Chytilek<\/a>\u00a0<\/strong>(which was\u00a0suggested for study by <a href=\"https:\/\/twitter.com\/kuorinki\" target=\"_blank\">@kuorinki<\/a>). Other examples in found in this blog are:<\/p>\n<ul>\n<li><a href=\"http:\/\/no-chair-design.tumblr.com\/post\/15231040512\/dissolving-chair-by-astrid-n\" target=\"_blank\">&ldquo;Dissolving chair&rdquo; by <strong>Astrid N. Bucio<\/strong><\/a>\u00a0<\/li>\n<li><a href=\"http:\/\/no-chair-design.tumblr.com\/post\/13643399919\/from-ncd-c-point-of-view-this-chair-is-a-monster\" target=\"_blank\">&ldquo;Robotic (self healing) chair&rdquo; by\u00a0<strong>Raffaello D\u2019Andrea<\/strong><\/a>\u00a0(&amp; Co)<\/li>\n<li><a href=\"http:\/\/no-chair-design.tumblr.com\/post\/12511586202\/seek-and-destroy-2011-in-this-video-artist-jan\" target=\"_blank\">&ldquo;Seek and Destroy (2011)&rdquo; by \u00a0<strong>Jan Hakon Erichsen<\/strong><\/a><\/li>\n<\/ul>\n<p>Designers can deconstruct things too:\u00a0<a href=\"http:\/\/no-chair-design.tumblr.com\/post\/12788558354\/again-with-the-destruction-of-chairs-this-time\" target=\"_blank\">&ldquo;The Cut Chair&rdquo; by <strong>Peter Bristol<\/strong><\/a>\u00a0is a prime\u00a0example. But let&rsquo;s use Chytilek work as an example. Here is what she writes about her chair piece.<\/p>\n<blockquote>\n<p><em>Four original Thonet chairs were <strong>deconstructed<\/strong> in order to build a fifth out of them.\u00a0Taking away one leg of each chair and some other necessary details, an entire fifth\u00a0chair was made out of four. Therefore each chair got a unique and fragil appearance,<strong>\u00a0deprived of their function<\/strong>, the five chairs turned out to be useless in common sense.<\/em><\/p>\n<\/blockquote>\n<div>In layman&rsquo;s terms: She&rsquo;s wrecked four chairs so that they can be\u00a0assembled\u00a0to become one. Sort of a how the<strong> Power Ranger<\/strong> <a href=\"http:\/\/en.wikipedia.org\/wiki\/Zord\" target=\"_blank\">Zords<\/a>\u00a0assemble\u00a0in to a Megazord.<\/div>\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"525\" height=\"296\" src=\"https:\/\/www.youtube.com\/embed\/O3dlQT3ysy8?version=3&#038;rel=0&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<p>I\u00a0interpret\u00a0Chytileks artwork as an illustration of the frustrations of the <a href=\"http:\/\/en.wikipedia.org\/wiki\/Precariat\" target=\"_blank\">precariat workforce<\/a>.<\/p>\n<p>Like Chytileks chair, the labor time of the contemporary workforce is\u00a0chopped in to shreds.\u00a0A singular worker seldom gets the opportunity to\u00a0concentrate\u00a0a single work process. Instead of\u00a0immersing\u00a0into a workflow s\/he&rsquo;ll be offered the possibility to only <em>participate in aspects of a project<\/em>. One day s\/he might be working on &ldquo;a leg&rdquo; other days with &ldquo;the armrest&rdquo; but s\/he&rsquo;ll never\u00a0actually\u00a0be offered the\u00a0chance\u00a0to build the chair.\u00a0<\/p>\n<p>Ultimately a worker might not even know what the outcome of a project is. The\u00a0work-effort\u00a0is veiled in constant doubt weather the chunks of a project are even related to each other. Because work is\u00a0shredded\u00a0we seldom experience fulfillment as\u00a0human beings.. In Chytileks terms we\u00a0are &ldquo;deprived of our function&rdquo;.<\/p>\n<p>This is likely how the craftspeople who assembled the first industrially manufactured chairs felt. Chairs by <a href=\"http:\/\/en.wikipedia.org\/wiki\/Gebr%C3%BCder_Thonet\" target=\"_blank\">Thonet<\/a>, which Chytileks has used as\u00a0motif\u00a0for her artwork are\u00a0 celebrated as the twilight of industrial design. Most famous of these chairs is the <a href=\"http:\/\/en.wikipedia.org\/wiki\/No._14_chair\" target=\"_blank\">No.14 Chair.<\/a><\/p>\n<p>Digital-age technologies and unified technological formats enable us to work in\u00a0shreds\u00a0(or\u00a0micro-tasks) effectively. People from\u00a0the far ends of the globe have the possibility to <em>collaborate<\/em> on projects.\u00a0Both workers may be digitally-native to the same computer operating\u00a0environments. This sounds like a scifi dream and unified\u00a0technological formats can\u00a0convert &ldquo;work&quot;\u00a0into a flexible concept altogether.. As the world is being transformed into a assembly\u00a0line; work is transformed into a form of\u00a0self exploration: Work is a mood.<\/p>\n<p>Think about Star Trek. Space-explorers never seem to do any &quot;work&rdquo;. They\u00a0merely\u00a0share a passion for exploration but engineers are not being payed for their labor. The same is taking place in our reality: Today\u00a0people can &ldquo;work&rdquo; from their &ldquo;homes&rdquo; and the time they work is not measured..\u00a0Unfortunately the result of this change is that we are loosing our ability to &ldquo;sense solidarity&rdquo;. Instead of meeting and physically\u00a0sympathizing\u00a0with each other.. The precariat workforce is\u00a0deviated\u00a0an isolated into their private spheres and to become office nomads.\u00a0<\/p>\n<p><img decoding=\"async\" src=\"http:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/7\/79\/Photograph_of_the_Division_of_Classification_and_Cataloging%2C_1937.tif\/lossy-page1-773px-Photograph_of_the_Division_of_Classification_and_Cataloging%2C_1937.tif.jpg\" width=\"500\" \/><\/p>\n<p><img decoding=\"async\" src=\"http:\/\/i1196.photobucket.com\/albums\/aa420\/ldezem\/7-a-office-in-car.jpg\" width=\"500\" \/><\/p>\n<p>This hurts the pride of skilled professional \u2013 One never get acknowledgement for skills when working in\u00a0shreds. Only the amount of performed tasks is calculated.<\/p>\n<p>In the past, a token of\u00a0craftsmanship was how effectively s\/he could reduce the amount of labor&amp;time needed to\u00a0complete\u00a0a task. The evaluation of skills was based on a\u00a0craftspersons\u00a0ability to reduce the amount of steps needed to make something. A\u00a0worker operating\u00a0hand wield tools\u00a0benefitted\u00a0form physical skills and\u00a0tactile\u00a0knowledge (passed down trough\u00a0apprenticeship periods).<\/p>\n<p>Factory assembly line takes the ideal of optimizing labor-time to it&rsquo;s peak. But automated processes do not require skills from the workers.\u00a0Assembly\u00a0line work can be performed by almost anyone. This is why craftspeople hate to work on\u00a0assembly\u00a0lines \u2013 It&rsquo;s a grotesque perversion of his\/her ideals and traditions.\u00a0<\/p>\n<p>The digitally native worker has no &ldquo;work identity&rdquo;. They might not even see them selfs as &ldquo;workers&rdquo;. The\u00a0concept\u00a0of &ldquo;a profession&rdquo; is<em>\u00a0last season<\/em> \u2013 Today we define\u00a0the field we are working on but we seldom define ourself&rsquo;s as being only professional artists, blacksmiths, writers&hellip; etc. We are no longer professionals and are being reduced into mere\u00a0tinkers\u00a0and makers.\u00a0Work has become a lifestyle\u00a0choice. I believe this is what\u00a0<strong>Joseph\u00a0Beuys<\/strong> ment when stating that in the <em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Joseph_Beuys#Legacy\" target=\"_blank\">everyone can be an artist<\/a><\/em>. \u00a0<\/p>\n<p>This thinking is\u00a0highlight in the digital realm. We identify to our artist-avatar names like &ldquo;coolmanberlin&rdquo; or &ldquo;missblue83&rdquo; instead of using our family names which would hint to our origins and social class. And get our income by playing games which are actually <a href=\"http:\/\/www.microtask.com\/\" target=\"_blank\">microtasking real work for us<\/a>. In all we&rsquo;ve lost track of who we are and what is work&hellip; People even argue that <em>being on facebook <a href=\"http:\/\/blogs.forrester.com\/nigel_fenwick\/12-02-09-whats_a_facebook_like_worth\" target=\"_blank\">is a form of work<\/a><\/em>\u00a0and that we should be payed for it.<\/p>\n<p>The result of this is that we are being immersed\u00a0in to the &ldquo;world economy&rdquo;. Our\u00a0identities\u00a0already effect our consumption patterns and our moods change economic realities. Our passions are harmonious with economics.<\/p>\n<p>As we no longer see the difference between work-and-lifestyle we come weak.\u00a0This lack of an identity makes us fragile and unable to\u00a0defend\u00a0ourself from demands made by the capital. Companies attempt to make us<em> feel bad<\/em> in hopes of affecting our consumption patterns. Emotions\u00a0are being capitalised.<\/p>\n<p>The body is portrayed as a\u00a0vehicle\u00a0for identities &#8211; Each of which is represented with a different style (which is\u00a0obtained\u00a0by consumption). The absence of an &ldquo;articulated identity&rdquo; is celebrated in the efforts of creative practitioners.\u00a0Much of this is made possible by the efforts of 20th century <strong>artist passion for deconstruction<\/strong>. In the beginning it served a purpose \u2013 To liberate working classes from their fixed and <em>naive <\/em>world views. But Beuys&amp;Co nor the <a href=\"http:\/\/en.wikipedia.org\/wiki\/Situationist_International\" target=\"_blank\">Situationist<\/a>\u00a0didn&rsquo;t really think what would happen after people are &ldquo;liberated&rdquo; nor did they\u00a0equip\u00a0us with tools to handle the situation. \u00a0<\/p>\n<p>Eva Chytilek does not touch this issue with her artwork. Nor does the\u00a0writer\u00a0<strong>Dominikus M\u00fcller <\/strong>approach them in his writing of Chytilek exhibition:\u00a0<a href=\"http:\/\/www.chytilek.artfolder.net\/index.php\/pressetexte.html?file=tl_files\/sonstiges\/texte\/Dominilkus%20Mueller%3AE.pdf\" target=\"_blank\">&ldquo;And the things are hiding in the middle of the room&rdquo;<\/a>. The text and the artwork celebrate of the\u00a0absence\u00a0of identities. Her work is a celebrations of the postmodern-void.. The site of <em>the identity<\/em> is illustrate (in a market-orientated fashion) using the term &ldquo;conventions&rdquo; (aka. behaviour- and consumption patterns).<\/p>\n<blockquote>\n<p><em>Eva Chytilek is also concerned, time and again, with the question of how bodies and space are constituted and of what they are made: what is a space, actually, and what is a volume? What fills this or brings this forth \u2013 if nothing else, socially, through the conventions of use? \u00a0&#8211;<strong>M\u00fcller<\/strong><\/em><\/p>\n<\/blockquote>\n<p>BUT the NO-CHAIR-DESIGN Crew turns to the P<strong>ower Rangers,<\/strong>\u00a0to learn from them how to organize in our fight against the post-modern void an\u00a0oppression\u00a0. The future of art lies in the construction of permanent\u00a0infrastructure\u00a0which supports networks, life-styles and ideologies we consider valuable enough to preserve. Not in the endless deconstruction of identities \u2013 But Ideologically motivated art.<\/p>\n<p>These issues are further explored by the work of\u00a0<strong><a href=\"http:\/\/en.wikipedia.org\/wiki\/Franco_Berardi\" target=\"_blank\">Franco &ldquo;Bifo&rdquo; Berardi<\/a>\u00a0(<\/strong>here are some <a href=\"http:\/\/eero.storijapan.net\/aineisto\/aalto\/the_future_of_art\/the_future_of_art.html\" target=\"_blank\">notes form a lecture<\/a> he gave when in Helsinki).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Contemporary artist of the world are trained in &ldquo;the art of deconstruction&rdquo;. What is that about\u00a0and when will construction and restoration become mainstream?\u00a0A chair themed example of the deconstruction work is the\u00a0&ldquo;Der 5. Stuhl&rdquo; by\u00a0Eva Chytilek\u00a0(which was\u00a0suggested for study by @kuorinki). Other examples in found in this blog are: &ldquo;Dissolving chair&rdquo; by Astrid N. Bucio\u00a0 &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/eero.storijapan.net\/docfolio\/deconstructed-chairmen\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;NO-CHAIR-DESING: Art of Deconstruction&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"gallery","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1503],"tags":[1346,1347,1348],"class_list":["post-5170","post","type-post","status-publish","format-gallery","hentry","category-no-chair-design","tag-dominikus-muller","tag-eva-chytilek","tag-power-rangers","post_format-gallery"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts\/5170","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/comments?post=5170"}],"version-history":[{"count":0,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/posts\/5170\/revisions"}],"wp:attachment":[{"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/media?parent=5170"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/categories?post=5170"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/eero.storijapan.net\/docfolio\/wp-json\/wp\/v2\/tags?post=5170"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}